"The Tsar's Bride" is our classic legacy. Opera "The Tsar's Bride" Author of dramas The Tsar's Bride and the Woman of Pskov

On March 24, the N.A. Rimsky-Korsakov Memorial Museum-Apartment (Zagorodny pr., 28) opened the exhibition “Tragedies of Love and Power”: “The Woman of Pskov”, “The Tsar's Bride”, “Servilia”. The project, dedicated to three operas based on the dramatic works of Lev Mei, completes a series of chamber exhibitions that since 2011 have systematically introduced the general public to opera heritage Nikolai Andreevich Rimsky-Korsakov.

"To Nikolai Andreevich Rimsky-Korsakov the Great Singer Mey" - written in gold embossing on the ribbon presented to the composer. Dramas, poetry, translations - the work of Lev Aleksandrovich Mey attracted Rimsky-Korsakov throughout almost his entire life. Some materials of the opera - heroes, images, musical elements - were transferred to The Tsar's Bride, and later migrated to Servilia, which, it would seem, is so far from the dramas of the era of Ivan the Terrible. The focus of the three operas is on bright female images, the fragile world of beauty and purity, which is dying as a result of the invasion of powerful forces embodied in its quintessence, whether it be the Moscow tsar or the Roman consul. The three doomed brides of Mei - Rimsky-Korsakov - this is one emotional line, striving for the highest expression in the image of Fevronia in The Tale of the Invisible City of Kitezh. Olga, Martha and Servilia, loving, sacrificial, anticipating death, were brilliantly embodied on the stage by Korsakov's ideal - N. I. Zabela-Vrubel, with her unearthly voice, ideally suited for these parties.

The opera The Tsar's Bride is more familiar to the general public than other operas by Rimsky-Korsakov. In the funds of the Museum of theatrical and musical art evidence of many productions has been preserved: from the premiere at the Private Theater of S. I. Mamontov in 1899 to performances of the last quarter of the 20th century. These are sketches of costumes and scenery by K. M. Ivanov, E. P. Ponomarev, S. V. Zhivotovsky, V. M. Zaitseva, original works by D. V. Afanasyev - two-layer sketches of costumes imitating the relief of fabric. The central place at the exhibition will be occupied by sketches of scenery and costumes by S. M. Yunovich. In 1966 she created one of the best performances throughout the entire history of the stage life of this opera - poignant, tense, tragic, like the life and fate of the artist herself. The exhibition will feature for the first time Marfa's costume for the soloist of the Tiflis Opera I. M. Korsunskaya. According to legend, this costume was bought from the maid of honor of the Imperial Court. Later, Korsunskaya presented the costume to L.P. Filatova, who also took part in the play by S. M. Yunovich.

The Maid of Pskov, chronologically Rimsky-Korsakov's first opera, will be presented in the final exhibition of the cycle for a reason. Work on this "opera-chronicle" was dispersed in time, three editions of the work cover a significant part creative biography composer. At the exhibition, visitors will see a sketch of the scenery by M. P. Zandin, a stage costume, a collection of dramatic works Mey in the edition of Kushelev-Bezborodko from the personal library of Rimsky-Korsakov. The score of the opera The Boyar Vera Sheloga, which became the prologue to The Maid of Pskov, has been preserved, autographed by V.

V. Yastrebtsev - biographer of the composer. The exposition also presents memorial tapes: “To N.A. Rimsky-Korsakov “The Girl of Pskov” Benefit performance of the orchestra 28.X.1903. Orchestra of Imperial Russian Music"; "N. A. Rimsky-Korsakov "in memory of my slave Ivan" Pskovityanka 28 X 903. S.P.B."

Chaliapin, who suffered through every intonation of the part of Ivan the Terrible, who is torn between love for his newfound daughter and the burden of power, turned the historical drama The Maid of Pskov into a genuine tragedy.

Visitors to the exhibition will have a unique opportunity to get acquainted with Rimsky-Korsakov's opera Servilia, presented by E. P. Ponomarev's costume sketches for the premiere performance at the Mariinsky Theater in 1902; a stage costume, which will be exhibited for the first time in an open exhibition, as well as an opera clavier with the composer's personal notes. For several decades, the opera has not appeared either on the stage of the theater or in concert hall. There is no complete recording of "Servilia". The museum's return to Rimsky-Korsakov's forgotten opera, planned several years ago, miraculously coincided today with the expectation of an outstanding event - the upcoming production of "Servilia" in the Chamber musical theater them. B. A. Pokrovsky. Prior to the April 15 premiere, Gennady Rozhdestvensky is also planning to make the first ever recording of Servilia. This is how the empty window in the majestic opera house of N. A. Rimsky-Korsakov will be filled.

Authors)
libretto Nikolai Rimsky-Korsakov Plot Source Lev Mei - drama "Pskovite" Genre Drama Number of actions three Year of creation - , edition First production January 1 (13) Place of first performance Petersburg, Mariinsky Theater

« Pskovite is the first opera by Nikolai Rimsky-Korsakov. The opera has three acts, six scenes. The libretto was written by the composer himself on the plot of the drama of the same name by Lev Mei. First staged at the Mariinsky Theater in St. Petersburg under the baton of Eduard Napravnik in 1999, revised by the composer in 1999.

Characters

• Prince Tokmakov, posadnik in Pskov - bass;
• Olga, his adopted daughter - soprano;
• Boyar Matuta - tenor;
• Boyarina Stepanida Matuta (Stesha) - soprano;
• Mikhail Tucha, mayor's son - tenor;
• Prince Vyazemsky - bass;
• Bomelius, royal doctor - bass;
• Yushko Velebin, messenger from Novgorod - bass
• Vlasyevna, mother (mezzo-soprano);
• Perfilievna, mother (mezzo-soprano).

Boyars, guardsmen, people.

The action takes place in Pskov and its environs in a year.

Act one

Picture one. A garden near the house of Prince Tokmakov, the royal governor and sedate mayor in Pskov. Mothers Vlasyevna and Perfilyevna are talking about the formidable Tsar of Moscow Ivan Vasilyevich, who defeated the Novgorod freemen, is going to free Pskov. Girls play burners, in which Tokmakov's adopted daughter, Olga, is not involved, whispering with her friend Stesha about a love date with the posadnik's son, Mikhail Tucha. Vlasyevna tells the girls a fairy tale, but clouds are heard whistling. Everyone goes to the tower. Olga secretly goes on a date to Cloud. A tender scene takes place between them. Hearing the sound of approaching steps, Cloud climbs over the fence, and Olga hides in the bushes. Prince Tokmakov enters with the old boyar Matuta, who is wooing Olga. Tokmakov warns Matuta that Olga is his adoptive, not own daughter and hints that her mother is the noblewoman Vera Sheloga, and her father is Tsar Ivan himself, now marching with an army to Pskov. A ringing is heard, convening at a veche. Olga is shocked by the news she overheard.

Picture two. Square in Pskov. People run away. On the square, the Novgorod messenger Yushka Velebin, he tells that Novgorod has been taken, and that Tsar Ivan the Terrible is approaching Pskov. The people want to defend the city and go into open battle. Tokmakov and Matuta call on the people of Pskov to submit. The cloud protests against this decision, calls for resistance and leaves with the Pskov youth (freemen) at the sounds of an old veche song. The crowd notices the weakness of the "freemen", foresees her death and mourns that "the formidable king has a heavy hand."

Action two

Picture one. Big square in Pskov. At the houses - tables with bread and salt, as a sign of a humble meeting. The crowd is in fear and waiting for the arrival of the king. Olga informs Vlasevna family secret which she overheard. Vlasyevna foresees misfortune for Olga. The solemn entrance of the king opens with the cries of the people "Have mercy!".

Picture two. A room in Tokmakov's house. Tokmakov and Matuta humbly greet Ivan the Terrible. Olga treats the king, who treats her mercifully, noticing in her a resemblance to her mother. Girls praise the king. After they leave, the tsar, after questioning Tokmakov, is finally convinced that Olga is his daughter, and, shocked by the memories of his youth, declares: “The Lord saves Pskov!”

Act Three

Picture one. The road to the Caves Monastery, deep forest. In the forest royal hunt. A thunderstorm starts. Girls with their mothers pass along the road. Olga lagged behind them, who started a journey to the monastery only to meet Cloud on the way. There is a meeting of lovers. Suddenly, Cloud is attacked by Matuta's servants. The cloud falls wounded; Olga loses her senses - she is carried away in her arms by Matuta's guard, who threatens to tell Tsar Ivan about Cloud's betrayal.

Picture two. Royal headquarters near Pskov. Tsar Ivan Vasilyevich reminisces alone. Thoughts are interrupted by the news that the royal guards have captured Matuta, who was trying to kidnap Olga. The king is furious and does not listen to Matuta, who is trying to slander Cloud. They bring in Olga. Grozny is distrustful at first and speaks to her in an annoyed manner. But then frank confession the girls in their love for the Cloud and her affectionate, heartfelt conversation conquered the king. Suddenly, Cloud, having recovered from his wound, attacked the guards with his detachment, he wants to free Olga. The king orders the freemen to be shot, and Cloud to be brought to him. However, he manages to escape capture. From afar, Olga hears the farewell words of her beloved's song. She runs out of the tent and falls, struck by someone's bullet. Olga is dying. In desperation, Grozny leans over the body of his daughter. The people are crying about the fall of the great Pskov.

Notes

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See what "Pskovityanka (opera)" is in other dictionaries:

Opera by Nikolai Rimsky-Korsakov "The Woman of Pskov"- "Pskovityanka" - an opera in three acts. The music and libretto were written by composer Nikolai Andreevich Rimsky Korsakov, the plot is based on the drama of the same name by Lev Mey. This is the first of fifteen operas created by N. A. Rimsky Korsakov, ... ... Encyclopedia of newsmakers

Opera Woman of Pskovityanka A sketch of the veche scene from the first production of the opera ... Wikipedia

Genre - lyric-psychological drama.

The premiere of the opera took place in 1899 with the private opera of S. Mamontov. Costume designs were created by M. Vrubel, the part of Martha was performed by N. Zabela.

Rimsky-Korsakov turned to the historical plot three times. All three operas based on historical themes were based on the dramas of Lev Mei. The first was The Maid of Pskov, then the Boyar Vera Sheloga, the plot of which precedes the events of The Maid of Pskov, and The Tsar's Bride. All three dramas are connected with the era of Ivan the Terrible.

I. The plot fundamental principle of the opera. The Tsar's Bride is based on a real historical event: Ivan the Terrible chose his third wife, having gathered about 2000 girls from merchant and boyar families (N.M. Karamzin writes about this in the History of the Russian State. He chose the daughter of a Novgorod merchant Marfa Sobakin, but the tsar's bride fell ill before the wedding. The wedding took place, but Marfa soon died. Lev Mei rethought this event in his drama in a romantic way, creating a complex psychological intrigue around the fact of the death of the tsar's chosen one. The concept of Mei's play in the opera is almost unchanged ..

P. Refraction historical theme. The composer's interest in history arose under the influence of Mussorgsky. "Boris Godunov" and "Pskovityanka" were created simultaneously. However, Rimsky-Korsakov focuses not on large-scale mass scenes, but on the lyrical-psychological plot line. He is more attracted to the problem of immersion of the personality To historical era.

P. The peculiar refraction of the historical theme determines the complexity of the dramatic organization. The opera has several dramatic "circles" that form a concentric structure. The center of plot collisions is Marfa Sobakina. I drama circle - the love of Martha and Ivan Lykov. This is a lyrical plot line. The second circle is the love for Martha of the guardsman Gryazny and at the same time the tragedy of Lyubasha abandoned by him. This is the dramatic line of the opera, ck olku right here camping the main intrigue of the plot is formed. III the circle unites all the characters with Ivan the Terrible. It is at this level of dramaturgy that it is shown how a historical epoch (it is symbolized by Ivan the Terrible) can control personal destiny. Like the pure love of Martha and Ivan Lykov, so the intrigues of Lyubash and Gryazny are shattered by the decision of the tsar.

III. The musical language of the opera is a vivid example of Rimsky-Korsakov's ariose style, which the composer approached for a long time, writing a large number of romances. To embody the dramatic idea, the composer builds a complex system of leittems in the opera.

IV. Characteristics of the main characters

Martha- it's lyrical, perfect And absolutely passive character. Exposition of the image - aria II actions, where three themes are heard that will accompany the heroine in the final scenes of the opera. The development of the image is connected with the strengthening of the features of doom and tragedy. The climax is the scene of madness “Ah, Vanya, Vanya! What dreams are! (the theme of madness appears non-

how much earlier, in the preceding quintet) and the aria of the IV act, where all three leittems pass.

Grigory Gryaznoy- the most active and complex character. This is a man driven by his passions. He commits crimes not because he is angry, but because his feelings are unbridled. You can draw some analogy with Don Juan.

The exposition of the image is the aria of the first act “Where did you lose your old daring” unrequitedly in love, man. The image is revealed in ensemble scenes (with Bomelius and Lyubasha in act II): on the one hand, Gryaznoy is characterized as a person who will not be stopped by anything in the fulfillment of his plan, on the other hand, in the scene with Lyubasha, his ability to sympathize and regret about committed. Arietta III actions demonstrates the feigned humility of the hero, an imaginary rejection of his plans. IV act - the climax and denouement of the image. The arioso “She is sick, and crying and grieving” shows the hero’s hope for the success of his plan. The scene with Lyubasha and the arioso “Innocent Sufferer” is the denouement of the development of the character, demonstrating the hero’s repentance, his desire for punishment for his deeds.

Lyubasha- like Martha, this heroine reveals herself in a rather one-dimensional way: she is a strong personality, obsessed with one idea - to return the love of Gryaznoy. The exposition of the image is a tragic song from Act I “Equip it quickly”. The development takes place in act I, in a trio with Gryazny and Bomelius, in a duet with Gryazny. A significant stage in the development of the image is the arioso “Oh, I’ll find your sorceress” from Act I, where Lyubasha decides to “reveal” her rival. The next stage is the scene of Lyubasha and Bomelius, where the death of Martha is served as a foregone conclusion. The denouement of the image is the scene of Gryaznoy and Lyubasha in Act IV, where Lyubasha dies.

Ivan groznyj, although it is the central figure in the events of the opera, it does not have a vocal characteristic. He is at a short time appears at the beginning of Act II.

Overture ch.t. - the first 8 cycles t. - s. C.Z

3.7.3. "Royal Bride"

1. Bakulin, V. Leitmotif and intonational dramaturgy in N. Rimsky-Korsakov's opera "The Tsar's Bride" / V. Bakulin // Questions of opera dramaturgy / V. Bakulin. - M., 1975.
2. Solovtsov, A.P. Life and work of Rimsky-Korsakov / A.P. Solovtsov. - M., 1969.
3. Gozenpud, A.A. ON THE. Rimsky-Korsakov. Themes and ideas of his operatic work / A. A. Gozenpud. - M., 1957.
4. Druskin, M. Questions of musical dramaturgy of opera / M. Druskin. - L., 1962.
5. Yarustovsky, B. Dramaturgy of Russian opera classics: the work of Russian classical composers on opera / B. Yarustovsky. - M., 1953.

"The Tsar's Bride" completed the middle period of Rimsky-Korsakov's opera and at the same time the evolution of Russian opera - a musical and psychological drama in its classical form, typical of the second half of XIX century. In this work, the features of the “numbered” composition characteristic of Glinka, Borodin, Rimsky-Korsakov himself, and the opera of a free dramatized form, a wide symphonic breath, which reached its greatest flowering with Tchaikovsky, happily merged in this work.

The opera was written based on a play by May: the tragic fate of Ivan the Terrible's 3rd wife, Marfa Sobakina. The story is taken from Karamzin, however, not everything is reliable. Only the fact of marriage is real. It's all about intrigue real heroes: tsar, guardsmen - Malyuta Skuratov, G. Gryaznoy, doctor Bomelius, Martha's fiancé Ivan Lykov. The only fictional characterLyubasha. Image Ivan the Terribleintroduced into the opera by Rimsky-Korsakov himself (as a "silent" character). The composer turned May's everyday play into a lyrical-psychological musical drama, at the same time retaining the genre scenes richly written by the playwright. Rimsky-Korsakovdeepened the images actors and the psychological content of a number of scenes.He introduced Gryaznoy's aria into the opera, made Lyubasha's monologue in Act II aria an expression of devoted love for Gryaznoy (rather than a vindictive feeling), filled the image of Martha with deeper psychological content, freeing him from the tinge of everyday life and melodrama, sometimes felt in the play.

« The Tsar's Bride", like the operas of Tchaikovsky and Rubinstein, written on historical subjects, it belongs to the works in which the main place is given todevelopment of passions, and the historical element makes up the everyday background for the main action. In other words, the author's attentionfocused on the conflicts of personal drama, not on events historical life Rus' of the 16th century, although from the whole course of action the objective reasons for the dramatic fates of the heroes become clear. So the genre islyric-psychological musical drama + real historical the basis.

Dramaturgy "Royal Bride"multifaceted, event-active, is built on a complex interweaving of several conflicts. Lyubasha and Gryaznoy are heroes endowed with strong character and unbridled passionate nature, - confront Marfa and Lykov, who are unable to fight for their happiness. At the same time, the difference between the aspirations of Gryazny and Lyubasha leads to their mutual clash and death. In all acts of the opera, acute dramatic lyric-psychological situations are created. In depicting the characters of various psychological warehouses, Rimsky-Korsakov usesdifferent methods of musical dramaturgy: for Lyubasha and Gryazny - deepening and sharpening the main, dramatic content of the image, active, but gradual development of the intonational sphere; for lyrical heroes (Marfa) or lyrical everyday heroes (Sobakin) - a sharp update and rethinking thematic material, its qualitative change.

The expressiveness of the music in The Tsar's Bride is to a very large extent determined by the richness of itsmelodics. Almost without using folk melodies, Rimsky-Korsakov created many wonderful themes, dating back to variousfolk song genres. But besides this, the composer "speaks" the language folk music. Russian song (and speech) intonation is heard in the parts of all the characters, except for Bomelius (in his vocal "speech" the "accent" of a foreigner is aptly conveyed). Meet in the "Tsar's Bride" and magnificent samplesgeneral lyricalmelodics by Rimsky-Korsakov (mostly by Martha), but they, ultimately, are associated with folk songwriting.

Musical characteristics of the main characters

The basis of the musical "portrait"Lyubasha There are two types of intonations -song And speech. Main sourcesong sideits characteristics are the melody “Equip Quickly” from Act I. The melodic phrase from the song's climax takes onleitthematic meaning. Varying this theme, weaving it into the musical fabric of various scenes, the composer reveals the state of mind of the heroine: the determination to fight for her happiness (“Oh, I’ll find”), feelings of jealousy and anger, despair (“I won’t spare her”), the unbridled passion of her nature.

Speech type intonations- fretted sharp turns, with increased and decreased intervals - gradually appear in the vocal part, reflecting the subtle nuances of spiritual life. They appear more often in recitatives, but they are also included in the melody of developed episodes. Both types of intonations are fused in the melody of Lyubasha's aria from Act II.

Two thematic elements are used by the composer in the musical characterizationdirty . The main one is embossed according to the patternleitteme, based on the harmony of a diminished seventh chord. She creates a gloomy image full of great inner strength, hidden drama. An important role in Gryazny's leittematism is also played by a singsong melodic phrase arising from the instrumental theme of the oprichnina - from main party overtures. This thematic complex is widely and multilaterally deployed in the aria of the Dirty Act I. The composer interprets the leitme in the development of the action in a very interesting and dramatic way.

Dramaturgy of the imageMartha based on a sharp shift from a bright emotional sphere to a lyrical-traged, while maintaining the characteristics of the character of this character. Fragile, touching in her insecurity, the girl grows into a tragic figure, remaining herself even at the moment of the misfortune that befell her. All this is conveyed in music by exceptionally subtle means, recreating the complex conflict of spiritual life. key value in the characterization of Martha have two of her arias, they concentrate diverse intonation material associated with “two” looks -happy and suffering heroine. Without using leitmotifs, Rimsky-Korsakov created a very integral musical image - in the aria of the IV act, he used in a new light musical material arias of act II.

The musical characteristics of the main characters testify to the great importance of the principles of operasymphony in the work. There is a conflict and interaction of various figurative-intonational spheres. One of them accompanies the "world" of Martha, the other - to the characters who, to one degree or another, oppose the main character. Hence the crystallization in the scoretwo leittematic groups. Leitmotifs and leitharmonies, themes-memories, characteristic phrases and intonations are, conditionally speaking, exponents of the forces of "happiness" and "unhappiness", action and counteraction.

For lyrical and everyday scenes associated with the imageMartha, light, serene moods, a major tonal sphere, a song warehouse of melody are typical. musical characteristicsLyubasha And dirtycharacterized by states of feverish anxiety or mournful self-absorption, deep, sharp contrast of music, and in connection with this - intonation-modal and rhythmic tension of thematism, "dark" minor keys.

One of the features of the symphonic dramaturgy of The Tsar's Bride is the presence in it offatal leitmotifs and leitharmonies, which only partly characterize a certain person, but mostly have a more general semantic meaning. Themes of this kind are typically instrumental, harmonic in origin, more or less clearly belonging to the sphere of complex modes.

Rimsky-Korsakov chose for The Tsar's Bride on the whole the classical,numbered composition type. But, consciously following Glinka and Mozart, he combined their principles with the innovative operatic forms of the second half of the 19th century. Great importance in the "Tsar's Bride" have widely developedsolo and ensemble numbers, in which the most important characteristics of the characters are concentrated, the psychological atmosphere is transmitted this moment. Vivid examplesthrough dramatic scenestwo duets serve - Lyubasha and Gryaznoy (I act), Lyubasha and Bomelia (II act). An even more remarkable example of the flexible interweaving of the principles of number and through structure and at the same time the symphonization of the whole act islast action.

Control questions:

1. What is the meaning of the opera "The Tsar's Bride"?
2. What are the differences between the opera and the original?
3. Define the genre of opera.
4. What are the features of opera dramaturgy?
5. Reveal musical characteristics main characters.
6. What is the symphony of the opera?

The 1890s is an era of high maturity in creative life N. A. Rimsky-Korsakov. Since the spring of 1894, one opera has been written in draft form or drafted in sketches, another is being instrumented, a third is being prepared for staging; simultaneously in different theaters previously staged works are resumed. Rimsky-Korsakov still teaches at the St. Petersburg Conservatory, conducts the Russian symphony concerts, continues numerous editorial works. But these matters fade into the background, and the main forces are given to continuous creativity.

The appearance of Savva Mamontov's Russian Private Opera in Moscow helped to maintain the working rhythm of the composer, who, after the death of P.I. Tchaikovsky in 1893 as the recognized head of the Russian music school. A whole cycle of Rimsky-Korsakov's operas was staged for the first time in this free enterprise: Sadko, Mozart and Salieri, The Tsar's Bride, Boyar Vera Sheloga (who went as a prologue to The Maid of Pskov), The Tale of Tsar Saltan ; in addition, Mamontov went " May night”, “The Snow Maiden”, Korsakov’s editions of “Boris Godunov” and “Khovanshchina”, “The Stone Guest” and “Prince Igor”. For Savva Mamontov, the Private Opera was a continuation of the activities of the Abramtsevo estate and its workshops: almost all the artists of this association took part in the design opera performances. Recognizing the virtues theatrical works brothers Vasnetsov, K. A. Korovin, M. A. Vrubel and others, Rimsky-Korsakov nevertheless believed that Mamontov’s picturesque side of performances outweighed the musical, and most importantly in opera, music.

Perhaps the choir and orchestra of the Mariinsky or Bolshoi Theater were stronger than in a private enterprise, although the Mammoth Opera was hardly inferior to them in terms of soloists. But the new artistic context in which Rimsky-Korsakov’s operas fell into is especially important: The Snow Maiden with scenery and costumes by Viktor Vasnetsov, Sadko by Konstantin Korovin, Saltan by Mikhail Vrubel became major events not only of a musical nature: they carried out a real synthesis of the arts . For further creativity composer, such theatrical impressions were very important for the development of his style. Rimsky-Korsakov's operas of the 1890s are varied in form and genre. According to the composer's own definition, "Mlada", "The Night Before Christmas" and "Sadko" form a trilogy; after this comes, again in the words of the author, "once more teaching or alteration." We are talking about "the development of melody, melodiousness", which was reflected in romances and chamber operas of this period ("Mozart and Salieri", the final version of the prologue to "The Maid of Pskov") and especially brightly - in "The Tsar's Bride".

On a creative upsurge after the completion of the ingenious Sadko, the composer wanted not to remain with the tried and tested old, but to try something new. Another era was coming - fin de siecle. As Rimsky-Korsakov wrote: “Many things have grown old and faded before our eyes, and much that seemed outdated, apparently, will subsequently turn out to be fresh and strong and even eternal ...” Among the “eternal beacons” of Rimsky-Korsakov are great musicians past: Bach, Mozart, Glinka (as well as Tchaikovsky: his " queen of spades" studied Nikolai Andreevich during the period of work on "The Tsar's Bride"). AND eternal themes- love and death. The history of the composition of The Tsar's Bride is simple and short: conceived and begun in February 1898, the opera was composed and completed in the score within ten months and staged by the Private Opera the following season. Lev Mey's appeal to this drama was the composer's "long-standing intention" - probably since the 1860s, when Rimsky-Korsakov himself composed his The Pskovite Woman based on another of Mey's plays, and Balakirev and Borodin thought about the plot of The Tsar's Bride (the latter even made several sketches of the guardsmen's choirs, whose music was later used in "Prince Igor"). Scenario new opera Rimsky-Korsakov planned it himself, and entrusted the "final development of the libretto" to Ilya Tyumenev, a writer, theater figure and his former student. (By the way, having written Servilia a few years later based on May's play, Rimsky-Korsakov "embraced" the entire dramaturgy of this author, who had become so fond of him.)

May's play is based on a typical romantic drama love triangle, or rather, two triangles: Martha - Lyubasha - Dirty and Martha - Lykov - Dirty. The plot is complicated by the intervention of a fatal force - Tsar Ivan the Terrible, whose choice at the review of brides falls on Marfa. Both the play and the opera based on it do not belong to the type of "historical dramas", like the same "Pskovite" or "Boris Godunov", but to the type of works where historical setting and the characters are only the initial condition for the development of the action. The general coloring of the plot of The Tsar's Bride is reminiscent of Tchaikovsky's Oprichnik and The Enchantress; probably, Rimsky-Korsakov had in mind the opportunity to "compete" with them, as in his The Night Before Christmas, written on the same plot as Tchaikovsky's Cherevichki. Without putting forward such complexities that arose in Rimsky-Korsakov's previous operas (large folk scenes, pictures of rituals, fantastic worlds), the plot of The Tsar's Bride made it possible to focus on pure music, pure lyrics.

Some admirers of the art of Rimsky-Korsakov perceived the appearance of the "Tsar's Bride" as a betrayal of the past, a departure from the ideas mighty handful. Critics of another direction welcomed the "simplification" of the composer, his "striving to reconcile the requirements of the new musical drama with the forms of the old opera." With the public, the work was a very big success, blocking even the triumph of "Sadko". The composer noted: “... Many who, either from hearsay or on their own, were for some reason against the “Tsar's Bride”, but listened to it two or three times, began to become attached to it ... "

Nowadays, The Tsar's Bride is hardly perceived as a work that breaks with the heroic past of the New Russian School, rather, as an essay that unites the Moscow and St. Petersburg lines of the Russian school, as a link in the chain from The Pskovitezhka to Kitezh. And most of all in the sphere of melody - not archaic, not ritual, but purely lyrical, close to modern times. Another essential feature of the style of this opera is its Glinkianism: as one subtle and intelligent critic (E.M. Petrovsky) wrote, "the trends of Glinka's spirit that permeate the entire opera are really palpable."

In The Tsar's Bride, unlike previous operas, the composer, lovingly depicting Russian life, does not try to convey the spirit of the era. He almost withdraws from his favorite soundscapes as well. Everything is focused on people, on the spiritual movements of the heroes of the drama. The main emphasis is placed on two female images, acting against the backdrop of a beautifully written old Russian way of life. In the comments to the drama, Lev Mei calls the two heroines of The Tsar's Bride "song types" (two types - "meek" and "passionate") and gives the corresponding characteristics for their characteristics. folk texts. The first sketches for the opera were in the nature of a lyrical lingering song, with the melodies referring to both heroines at once. In Lyubasha's part, the style of the lingering song was preserved (her song is unaccompanied in the first act) and supplemented with dramatic romance intonations (a duet with Gryazny, an aria in the second act). The central image of Marfa in the opera received a unique solution: in fact, Martha as a “person with speeches” appears on stage twice with almost the same music (arias in the second and fourth acts). But if in the first aria - "Martha's happiness" - the emphasis is on the light song motives of her characterization, and the enthusiastic and mysterious theme of "golden crowns" is only exhibited, then in the second aria - "on the outcome of the soul", preceded and interrupted by "fatal chords" and the tragic intonations of "dream" - "the theme of the crowns" is sung and its meaning is revealed as the theme of a premonition of another life. Martha's scene in the finale of the opera not only holds together the entire dramaturgy of the work, but also takes it beyond the boundaries of everyday life. love drama to the heights of true tragedy. Vladimir Belsky, a remarkable librettist of the composer’s late operas, wrote about the last act of The Tsar’s Bride: “This is such an ideal combination of beauty and psychological truth that often fight among themselves, such a deeply poetic tragedy that you listen as if enchanted, without analyzing or remembering anything. .."

In the perception of the composer's contemporaries, the image of Marfa Sobakina - like the Snow Maiden, the Volkhovs in Sadko, and then the Swan Princess in The Tale of Tsar Saltan - was inextricably linked with the refined image of Nadezhda Zabela, wife of the artist Mikhail Vrubel. And Rimsky-Korsakov, who usually kept a certain "distance" in relation to the performers of his music, treated this singer with care and tenderness, as if anticipating her tragic fate(death of only son, madness of husband, early death). Nadezhda Zabela turned out to be the ideal expression of that sublime and often not quite earthly female image, which goes through all opera Rimsky-Korsakov - from Olga in "Pskovityanka" to Fevronia in "Kitezh": just look at the paintings of Vrubel, who captured his wife in Korsakov's opera parts, to understand what it is about in question. The part of Marfa, of course, was composed with the idea of ​​Nadezhda Zabela, who became her first performer.

Marina Rakhmanova